Overgrown

James Blake went from dubstep outlier to indie darling practically overnight, thanks to his dulcet, gospel-inspired stylings and an affecting Feist cover. His second album isn't entirely beat-free; "Voyeur" offers cowbell-heavy house in the vein of Pantha du Prince or Four Tet, and bass music's sub bass rumble is a common denominator. But he spends most of his energy floating in thin air, unspooling his choirboy warble over spare piano chords and even more skeletal drum machines. Somewhere between Nick Drake and Sade, it's R&B at its most ethereal.